‘Down to Earth’ brings together a group of artists whose
individual practices are unified and connected by natural forces.
Each artist engages in a spirituality, which is played out
in a series of abstract paintings. Arraiano, Matos and Passaporte’s
individuality and approach broadens the boundaries of abstract art,
alongside exploring their national history.

Paulo Arraiano examines the fast-paced frenzy that drives our
post-digital contemporary society where the thoughts and desires
of a new media generation are beamed around by artificial satellites.
The growing shift from direct life experience has manifested itself
into a factitious way of human beings connecting with the
natural world. Through movement and action painting, Arraiano
creates still frames, similar to satellite images and plane views,
that connect us and disconnect us with the physical and emotional
relationship between our body and the landscape. By capturing some
of the natural forces that bring the Earth’s landscapes
into existence, this series highlights the relationship
that lies between human emotions and the energies that
emerge from the environment.

Pedro Matos chooses to explore frontiers created by human
beings to create physical or abstract markers of difference,
identification or unification. His paintings examine the beauty
of their symbolic complexity and meaning. With the use of
linen canvases, the artist manually intervenes with absolute
accuracy and an attentive visual slightness. Metaphorically
he studies human action on nature, destructive and constructive.
Conceptually his paintings draw similarities to urban culture,
graffiti street style or a cut-up advertisement. Matos plays
with abstraction to enable us to contemplate whether
we are an urban or natural detail.

Ricardo Passaporte bows to abstract expressionism, with a focus
on the creative process and intensely expressive gesture that
runs through his work. Ricardo´s painting requires a level
of uncontrollability, as if he has no respect for the canvas
itself but respects the aesthetic of the logo design.
Passaporte rejects his painting skills, focusing only on the
medium and the matter; he paints with his right hand as if
he can´t control the spray can properly, or as if it was painted
with his left hand. As with Pedro Matos’ work, there is a
relationship between creation and destruction,
where it´s impossible to know which comes first.